The Transcendental 2000 is based on the Powertran Transcendent 2000 a diy kit synthesizer from 1978. The front panel is a replica of the original except for the program manager and the page buttons on the right. Being to scale makes some of the labels a little hard to read (unless you have a screen large enough to scale it up to its original 26" width) but the knobs are fairly standard, the switches which operate some of the most important modes of the keyboard are less so. Below are descriptions for these switches.

From left to right the switches are:-
Norm / NPD These stand for normal triggering where if a key is pressed and held any more notes played will not retrigger the envelopes (basically legato mode) and new pitch detect where every key strike triggers the envelopes.
KBD / OSC This is the gate signal sent to the amplifier controlled by either the keyboard or osc (LFO).
Transpose Changes the pitch of the keyboard down 2 octanes, off and up 2 octaves.
KB / Random / Off This is the filter tracking which can either be set to track the keyboard, be varied by the sample and hold or switched off.
BP / LP This is for selecting filter type bandpass or lowpass.
Single shot / Hold on Selects if the AD envelope should go straight from attack to decay or should stay at the peak of the attack until the key is released before decaying.
On / Norm / Gate This controls how the ADSR is triggered by the osc (LFO) either constantly, off or constantly while a key is pressed.
On / ADSR This controls if the signal should bypass or go through the ADSR before the output.

Page Buttons

The KEYS button shows the keyboard as pictured above.

The LFOS button brings up the osc (LFO) speed control page.
The frustrating thing about the original Transcendent was that there was only one LFO with seven destinations, so no slowly sweeping the filter over a bar while triggering the envelope with sixteenth notes for example. Here I've tried to remedy that by giving control of the speed for all seven destinations.

The speed of the LFO is set with the osc control on the front panel and can be set between 0.06 to 20 Hz same as the original or by switching on the tempo sync can be set to note lengths of a thirty second to two bars either straight, dotted or triplet. Each destination can then be set to between sixteen times slower or faster than the speed set with the main control, these can also be switched to locked divisions of the speed in step mode. Triggering of the LFO can be switched between free running (off), legato and triggered by every key strike (on).

The OSC 2 button brings up the second oscillator page.
The second oscillator is a supersaw with controls for level, detune (saw spread) and plus or minus one octave in semitone steps detune. There is a switch to control how it reacts to pitch modulation either on, its pitch is effected by the pitch modulation section, off, the pitch modulation section has no effect or sync where there is still no modulation but the main oscillator is synced to it.

The rest of the OSC 2 page is taken up by its dual vowel filter with controls for vowel mix, two for selecting the vowels, a control for the balance between the vowels or when switched to mod controls the amount of modulation between them, a switch for modulation shape, a control for modulation speed which like the LFO's can be tempo synced and finally a LED display showing the current position of the balance.

The GATE button brings up the gater page.
Controls from the left are Off / On switch, a switch to select if the gater effects the VCA, VCF or both and a switch to select if the gater syncs to the host tempo or is user defined by the knob to its right. This will also effect any other parts that are tempo synced.

Next is the control for direction forward, bidirectional or random then comes the gate time (speed) selector to select between 1/2, 1/4, 1/8, 1/16 and 1/32 step lengths followed by the swing amount, the controls for the attack and release of the steps and finally the mix for controlling the balance between the original and gated signal. Underneath are a row of buttons for selecting which of the steps are on or off.

The FX button brings up the dual delay page.
Twin delays with tempo sync and the option to have them in parallel or serial.

(05-10-2013, 12:28 AM)Bam link Wrote: Very nice plugin, in the next days I make a demo.

but I have a small point of criticism. The VSTI consumes a lot of CPU. And here there are a lot of older users, whose eyesight is not so great. The type of the parameter is very small

:top2

Thanks feedback good or bad is always welcome, after many late nights programming I may have got a little tunnel visioned, it kind of grew organically from the original idea and maybe not always for the best, but love it or hate it ( I have equal measures of both ) I like to think it has its own character and hope someone finds it useful.

The cpu usage can be reduced by turning off or turning the mix / level of sections to 0 this then removes them from the signal chain eg. turning osc2 supersaw detune to 0 removes 8 oscillators and so saves on cpu, I am working on trying to reduce the cpu load without changing its character, which is why I welcome feedback so if no one is bothered about the 7 free running LFO's ( I know I tend to leave the key sync on ) then I could change that but it would only reduce cpu when it was idle, one thing I like about the design is very little cpu spikes because once the oscillators are running the only extra processing is in the filter and envelopes.

As for the small labels I totally agree, but as I said in the description I tried to keep the front panel as close to the original as possible. There is a PDF included with the vst that runs through the switches and features its basically what I used for the description in the original post.

After five minutes of twerking around with this synth I fell in love. Here is a preset that was inspired from the #16 Preset, heavily modified of course. Built in sequencer was not used but enhances the vibe when turned on.